Art museum in nyc

111 Museums in New York That You Must Not Miss (111 Places in .... That You Must Not Miss)

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  • The ultimate insider's guide to New York's museums
  • Features interesting and unusual places not found in traditional travel guides
  • Part of the international 111 Places/111 Shops series with over 300 titles and 1.8 million copies in print worldwide
  • Appeals to both the local market (more than 20 million people call the New York metropolitan area home) and the tourist market (more than 60 million people visit New York City every year!)
  • Fully illustrated with 111 full-page color photographs
New Yorkers love their museums. It's an obsession. From Gauguin to gangsters, finance to food, New York City has the richest museum culture in the world. Only here, can a former rundown tenement, be transformed to one of the most beloved museums in the city. And for New Yorkers, simply finding the best museums is an urban sport itself; a personal quest to seek out the cool, the curious and the uncanny.

Consider this book your little cheat sheet. A treasure guide to the secret corners of the iconic museums, a field guide to the little museums you never dreamed existed. Dive in. Press pause from the world and discover a curated reality. We learn, we grow, we are amused and inspired. And when we leave, we feel a little more connected to the city around us, and to ourselves. And that's what being a New Yorker is all about.

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Painting and Sculpture at The Museum of Modern Art

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This volume provides a fresh look at The Museum of Modern Art's collection of painting and sculpture as it stands in 2015. The Museum's present holdings are the result of almost 90 years of collaborative effort between its curators and trustees, and the nearly 300 objects represented in this book affirm the convictions of the Museum's founders in 1929, who believed that modern art rivals in its greatness the art of any previous era. The catalogue opens with an essay by Ann Temkin, the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, which addresses the historical construction of the Museum's collection and explores the shifting issues that have guided its acquisitions. The thoughtful selection of the works included in this catalogue highlights the range of artworks and ideas that constitute the evolving foundation of the Museum's collection. The cumulative result of decades of collection-building is chronicled in the richly illustrated pages, including the legendary favorites of the collection, such as Vincent van Gogh's "Starry Night" (1889), Pablo Picasso's "Girl Before a Mirror" (1932) and Andy Warhol's "Gold Marilyn Monroe" (1962). The selection also celebrates lesser-known masterworks that underscore the vast breadth of the collection, such as Diego Rivera's "Agrarian Leader Zapata" (1931), Horace Pippin's "Abe Lincoln, The Great Emancipator" (1942) and Niki de Saint Phalle's "Shooting Painting American Embassy" (1961). The story continues through to the present, including landmark works such as Gerhard Richter's "October 18, 1977" (1988), Kara Walker's "Gone: A Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart" (1994) and Cai Guo-Qiang's "Borrowing Your Enemy's Arrows" (1998). With 126 years spanning the distance between the works on the first and last pages of the book, Painting and Sculpture offers the opportunity to immerse oneself in the multitude of artistic approaches encompassed under the banner of modern art.








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The World between Empires: Art and Identity in the Ancient Middle East

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A timely and definitive exploration of the art and culture of the ancient civilizations situated between Rome and the Middle East that presents a new way of understanding the regions influential heritage

Emerging as an urgent response to the destruction of cultural heritage in Iraq, Syria, and Iran, this publication examines the art and architecture of regions that served as major trade routes between the Roman and Parthian Empires from 100 B.C. to A.D. 250. The book examines the cultural histories of Timna, Petra, Baalbek, Palmyra, Dura-Europos, and Hatra together for the first time, capturing the intricate web of influence that emerged in the Ancient Middle East through the exchange of goods and ideas across the region. Works illustrated and discussed include statues, coins, reliefs, architectural elements and friezes, painted tiles and wall fragments, jewelry, textiles, and more. The World Between Empires is the definitive book on this subject, preserving what has been lost to time or violence, and contextualizing the significance of these works on a local and global scale.


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Period Rooms in the Metropolitan Museum of Art

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*Back in print*

In this classic book, readers can experience a grand tour through the history of interiors and interior design by viewing thirty-four spectacular period rooms in the Metropolitan Museum. From an ancient Roman bedroom excavated near Pompeii to a Louis XVI grand salon from eighteenth-century Paris to the Frank Lloyd Wright Room in the American Wing, these popular galleries can now be viewed at all times through the book√Ęs beautiful color photographs and accessible explanatory text.

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Mounting Frustration: The Art Museum in the Age of Black Power (Art History Publication Initiative)

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Prior to 1967 fewer than a dozen museum exhibitions had featured the work of African American artists. And by the time the civil rights movement reached the American art museum, it had already crested: the first public demonstrations to integrate museums occurred in late 1968, twenty years after the desegregation of the military and fourteen years after the Brown vs. Board of Education decision. In Mounting Frustration Susan E. Cahan investigates the strategies African American artists and museum professionals employed as they wrangled over access to and the direction of New York City's elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, Cahan gives a detailed and at times surprising picture of the institutional and social forces that both drove and inhibited racial justice in New York's museums.

Cahan focuses on high-profile and wildly contested exhibitions that attempted to integrate African American culture and art into museums, each of which ignited debate, dissension, and protest. The Metropolitan Museum's 1969 exhibition Harlem on My Mind was supposed to represent the neighborhood, but it failed to include the work of the black artists living and working there. While the Whitney's 1971 exhibition Contemporary Black Artists in America featured black artists, it was heavily criticized for being haphazard and not representative. The Whitney show revealed the consequences of museums' failure to hire African American curators, or even white curators who possessed knowledge of black art. Cahan also recounts the long history of the Museum of Modern Art's institutional ambivalence toward contemporary artists of color, which reached its zenith in its 1984 exhibition "Primitivism" in Twentieth Century Art. Representing modern art as a white European and American creation that was influenced by the "primitive" art of people of color, the show only served to further devalue and cordon off African American art.

In addressing the racial politics of New York's art world, Cahan shows how aesthetic ideas reflected the underlying structural racism and inequalities that African American artists faced. These inequalities are still felt in America's museums, as many fundamental racial hierarchies remain intact: art by people of color is still often shown in marginal spaces; one-person exhibitions are the preferred method of showing the work of minority artists, as they provide curators a way to avoid engaging with the problems of complicated, interlocking histories; and whiteness is still often viewed as the norm. The ongoing process of integrating museums, Cahan demonstrates, is far broader than overcoming past exclusions.

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  • Duke Univ Pr

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Armenia: Art, Religion, and Trade in the Middle Ages

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A fascinating exploration of art created by the varied Armenian kingdoms that connected the East and West during the Middle Ages

As the first people to officially convert to Christianity, Armenians commissioned and produced astonishing religious objects. This sumptuous volume depicts and contextualizes the compelling works of art that defined the rich and complicated culture of medieval Armenians, including carvings, liturgical furnishings, beautifully illustrated manuscripts, gilded reliquaries, exquisite textiles, printed books, and more. Situated at the center of trade routes that connected the East and West during the Middle Ages, Armenia became a leading international trade partner for Seljuk, Mongol, Ottoman, and Persian overlords, while also serving as a powerful ally to Byzantium and European Crusader states. Written by a team of international scholars, with contributions from Armenian religious leaders, this book will stand as the definitive text on the art and culture of medieval Armenia.


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Egyptian Art in the Age of the Pyramids

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During the course of the Old Kingdom (about 2649-2150 B.C.E.), Egyptians not only created the pyramid, which has come to stand as an emblem of the civilization, but also defined the essence of their art, establishing a tradition that endured for three thousand years. Centering their attention on the human image but depicting animals, plants, landscapes, and inanimate objects as well, they served their culture's all-encompassing goals of maintaining cosmic order and defeating death. This they did by preserving an idealized image of life in statues and reliefs destined for tombs and temples. Working in a wide range of materials, they were able to express the multiplicity of existence by means of an artistic canon of circumscribed types, which they subtly varied and infused with innumerable realistic details. Keen observation of nature and a thorough understanding of human and animal bodies led to the invention of images of an extraordinary organic truthfullness. Intimate human relationships and impressions of daily life as well as the majestic pharaonic presence are captured in the many forms of their art. Sometimes stark, always straightforward, the images of this early period are graced by what one scholar termed "the charm of the first time."


Old Kingdom art first came to light in the middle of the nineteenth century, and explorations marked by many spectacular discoveries have continued to the present. In recent years especially there has been a notable renaissance in studies of the period. This flowering of research has inspired the many authors of this volume, which accompanies a major exhibition of Old Kingdom art held at the Galeries Nationales du Grand Palais in Paris, The Metropolitan Museum of Art in New York, and the Royal Ontario Museum in Toronto. In essays that will enrich the understanding of the general and scholarly audience alike, these internaional experts examine the history of the Old Kingdom, the architecture of royal pyramid complexes and nonroyal tombs, statuary, reliefs, minor arts, and the history of excavations of Old Kingdom monuments. They also focus sharply on the individual works in the exhibition in more than two hundred illuminating entries. The texts are lavishly supported by plans, drawings, and reproductions in color abd black and white of the works in the exhibition as well as comparative material. A chronology, provenances, references, an extensive bibliography, and indexes are provided.

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Breaking In: A smart, quirky heist novel set in the New York City art scene (The Whitney Museum/Art Gallery Museum Heist Series Book 1)

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James Ibedson has a problem. He was born with a silver spoon. And while he dreams of becoming a respected artist, the critics see a spoiled dilettante.

After a tepid East Side debut, he concocts an outlandish scheme. He will break into the Whitney Museum. Risk his freedom, maybe even his life. Dare to challenge the masterpieces gathered there and hang a paintinghis ownon the wall.

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Islamic Arms and Armor: in The Metropolitan Museum of Art

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A lushly illustrated survey of exquisitely crafted weapons and armor from the Islamic world, which display extraordinary artistry and opulence

From its origins in the 7th century, armor and weaponry were central to Islamic culture not only as a means of conquest and the spread of faith, but also as symbols of status, wealth, and power. More than 120 exceptional examples from the renowned collection of The Metropolitan Museum of Art are presented in detail to demonstrate the remarkable craftsmanship and beauty of Islamic arms and armor. These diverse objects, which have never been catalogued or published in detail, span ten centuries and represent nearly every Islamic culture, from Spain to the Caucasus. Among these masterpieces are rare early works, such as the oldest documented Islamic sword, and fine examples of decorated helmets and body armor from late-15th-century Iran and Anatolia. Also included are lavish gem-studded weapons from royal courts in the Ottoman world and India. Each piece is handsomely photographed, with a detailed discussion of its technical, historical, and artistic importance. Made by master artisans in conjunction with leading designers, goldsmiths, and jewelers, these stunning objects demonstrate how utilitarian military equipment could be transformed into striking and extravagant works of art.  




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Art In Our Time

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In the late 1920s, conservative policies were the norm among traditional museums--that is, until three progressive patrons of the arts decided to establish an institution devoted exclusively to modern art. When The Museum of Modern Art was founded in 1929, its first director, Alfred H. Barr, Jr., dedicated it to helping people understand and enjoy the new visual arts of the time, his hope was that this new institution would offer New York "perhaps the greatest museum of modern art in the world." The public responded with enthusiasm--and has continued to do so over the history of the Museum's extraordinary development: from an initial gift of eight prints and one drawing, MoMA's collection has grown to include over 100,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects; 19,000 films and four million film stills; and 160,000 books, artists' books, and periodicals. Published on the occasion of the Museum's 75th birthday and the opening of its new building, Art in Our Time: A History of MoMA, is a picture book of historical photographs and archival documents, many of which have never before been published. Included are images of the various Museum buildings and gardens, from its original home in the Heckscher Building at the corner of Fifth Avenue and 57th Street, to its present location in Yoshio Taniguchi's complex on 53rd Street; installation shots of major exhibitions and important events at the Museum, and photographs of curatorial staff and Museum officials whose discerning policies helped shape our understanding of modern art. Documents include excerpts from letters, invitations, and other archival material that tell the story of The Museum of Modern Art from its beginnings to the present. The book is divided into eight sections starting with documentation of the modern art scene in New York prior to the Museum's opening; and then offering a chronology that covers the museum's 75-year history in seven parts divided into 10- to 15-year increments.

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Art museum in nyc